mokhtar ebrahimi

Symbols and the use of symbolic language are among the most important tools for creating poetic imagery and mental elaborations, particularly in contemporary Persian literature. Through symbols, a poet can transform inner, spiritual, and psychological thoughts into tangible and objective forms. Due to their interpretative nature, symbols liberate literary texts from one-dimensionality, allowing readers to derive multiple meanings from the text. The aim of this research is to demonstrate, through an analytical-descriptive method, library resources, and statistical data analysis, that the mythological symbols used in Naderpour's poetry not only display lyrical poetic imagery and create artistic ambiguity and pleasure for the audience but also serve other functions. By interpreting these mythological symbols and analyzing the resulting lyrical imagery, the inner and conceptual thoughts behind these images can be uncovered. This study, through a detailed examination of the lyrical imagery in Naderpour's poetry and the extraction and interpretation of the mythological symbols employed, reveals that these symbols—according to quantitative and statistical results—serve national, social, romantic, philosophical, and boastful functions, respectively. The findings indicate that in the lyrical imagery, the poet not only creates innovative poetic images but also seeks to convey specific ideas to the audience. In this endeavor, Naderpour utilizes mythological concepts and symbols as essential tools in developing the intellectual themes of lyrical imagery in his poetry. Lyrical imagery also holds a significant place in the illustrated Shahnamehs of the Timurid period.Research Objectives: To examine the functions of mythological symbols in the lyrical imagery of Nader Naderpour's poetry.To compare the functions of mythological symbols in Naderpour's poetry with those in the illustrated Timurid Shahnamehs.Research Questions:What are the functions of Nader Naderpour's poetry?How do the functions of Naderpour's poetry compare with those in the illustrated Timurid Shahnamehs?

The Right Device is the most complex iranian music apparatus that has narrated its Nezami, performance method, and complexities that are impossible without musical knowledge. The present essay Nezami skill in music, analysis of the layout of the parts of the right device Barbad and Nakisa duet in those parts, in the style of narrative, has not been returned. The research method in this paper is library. The area and society studied are Khosrow and Shirin Nezami's poetry with The Shebli No'mani and M. Darvish's efforts, published by Jawdan Publications (1991). Khosrow and Shirin's poetry is one of the best fictional poetres of Persian literature the narrator is the lover of Khosrow Parviz's life with different mistresses that ended with Armenian Shirin. In Khosrow and Shirin, we witness many things that present music by famous and unknown musicians. The best of them is The Barbad and Nakisa donnings before marrying of Khosrow with Shirin. Their playing seems to have been a sign of Nezamis art in music and a diagram to present a style for him, along with exchanging messages of Khosrow and Shirin, reducing the psychological tension of Khosrow and Shirin. Nezami in feast of Khosrow narrates the parts of the right device correctly and with the duet of Barbad and Nakisa and based on the ancient iranian musical criteria and the details of the right turn (Mahoor, Shour, Bayat and, Homayoun) with its various peaks and landings and parts.

Style is the way of paying a literary text whose branches have blossomed on the body of the language. The language of a text is the words that sit together and create sentences and phrases, and this language expresses the thoughts, feelings, views and beliefs of the author of the text and his personality. Stylistic studies include three linguistic, literary and intellectual axes. In this research, the linguistic features of Abbas Maroufi"s novels have been analyzed in syntactic, lexical and phonetic layers.

This research has been done in a descriptive-analytical way, on the basis of library studies and by mentioning examples equal to stylistic components.

Abbas Maroufi, a contemporary writer, has a special writing style. The findings of the research show that Meroumi uses language and linguistic elements according to the structure, content, space and characters of the stories. The fictional language of Abbas Maroufi, both in the field of words and in the context of the words, is a living and literary language that shows well the layers of thought, feeling and emotion of himself and the society. All language elements in famous stories have a coherent system, which puts him in the ranks of writers with style.

The main and most important linguistic highlights in Abbas Maarouf"s novels, which distinguish his writing style from other writers, are the appropriateness of the language of the characters in the stories with their personality types, the use of adjectives and simile elements after the verb, the use of vau at the beginning of sentences and clauses, the abundant use of verbs Prefixing is bringing consecutive verbs, having special linguistic motifs, repeating a word or sentence throughout the stories according to the narrative space, selecting and arranging words according to their emotional load and the story space.

In his Masnavi, through his "poetic", "mystical" and "educational" life and his numerous encounters with "language", Molavi has adopted different approaches and has different views about the understanding, essence, intention and purpose of language. is special In Masnavi, Molavi often adopted two "major approaches" in dealing with language: first, the "educational" approach, which reflects his religious, spiritual, and moral attitudes, and second, the "existential" and "ontological" approach, which reflects It gives his mystical, phenomenological, interpretive and interpretive attitude. In the present study, we will show that Maulavi's perception of language is often a "tool" for teaching "ethical" and "mystical" concepts, while there are glimpses of "existential" and "ontological" attitudes through the interpretation and hermeneutic approach. It has also appeared in his thinking and poetry. Based on this, some ontological affinities of Molavi with Heidegger, a prominent German philosopher, can be investigated and sought. Therefore, in the present research, we will show that Molvi and Heidegger have deep and fundamental differences with each other, despite some "verbal" and "apparent" similarities. From Heidegger's point of view, "language" is the house of existence, and it has philosophical dimensions, while in Molavi's view, language is often an "imperfect tool" and the "carrier" of "educational" concepts, and the "predominance" of the "educational" element Compared to philosophical dimensions, it causes "oscillation" between "educational" and "philosophical" dimensions in Maulavi's linguistic theories.

Style is the way of paying a literary text whose branches have blossomed on the body of the language. The language of a text is the words that sit together and create sentences and phrases, and this language expresses the thoughts, feelings, views and beliefs of the author of the text and his personality. Stylistic studies include three linguistic, literary and intellectual axes. In this research, the linguistic features of Abbas Maroufi"s novels have been analyzed in syntactic, lexical and phonetic layers.

This research has been done in a descriptive-analytical way, on the basis of library studies and by mentioning examples equal to stylistic components.

Abbas Maroufi, a contemporary writer, has a special writing style. The findings of the research show that Meroumi uses language and linguistic elements according to the structure, content, space and characters of the stories. The fictional language of Abbas Maroufi, both in the field of words and in the context of the words, is a living and literary language that shows well the layers of thought, feeling and emotion of himself and the society. All language elements in famous stories have a coherent system, which puts him in the ranks of writers with style.

The main and most important linguistic highlights in Abbas Maarouf"s novels, which distinguish his writing style from other writers, are the appropriateness of the language of the characters in the stories with their personality types, the use of adjectives and simile elements after the verb, the use of vau at the beginning of sentences and clauses, the abundant use of verbs Prefixing is bringing consecutive verbs, having special linguistic motifs, repeating a word or sentence throughout the stories according to the narrative space, selecting and arranging words according to their emotional load and the story space.

Post-colonialism is an Interdisciplinary approach that has been developed extensively during recent decades. These studies search and criticize manifestations of discourse of post-colonialism in the era of post-independence specifically in literary as well as cultural products. In this field of study, post-colonial concepts such as Euro-centrism, gender, inferior, the other, racism and Orientalist discourse, are analyzed in two general categories of colonizer and colonized. Based on the post-colonial theories, this article examines the representation of “the other” in the poems of two important poets of the Constitutional period (Mirzadeh Eshqi and Aref Qazvini) and in the light of the post-colonialism discourse,  the research shows how these poets deal with the duality of the discourse of postcolonialism and regain the identity of “self” against western making of “the other”. It is also investigated that in their struggle with colonizers, theses poets are at times influenced by radical nationalistic medievalism which misled them in the modern colonialist goals and has ultimately resulted in the double strengthening of the colonizers, the oppressors and the hegemonic power.

One of the most important topics among mystics has always been the expression of mystical experiences. It is not possible to study the phenomenological aspects of these experiences outside of language. But language is insufficient in explaining mystical experiences, and for this reason mystics have turned to artistic and literary forms of language. Symbol and allegory are two forms of artistic language. By using analytical method, the present research investigates the question of how Jalāl-al Din Rumi used allegory and symbols to reveal his mystical experiences in Masnavi Manavi. Considering the limitations of human language, Rumi has tried to open the way to mystical interpretations for himself and the audience with his special language. To understand the language of Masnavi, it is important to know its symbolic language. The findings of the research show that Rumi has given dynamism to his mystical language by using his own verbal capacities. Attention to language and its defects, semantics, repetition of special words and focusing on a single thought, awareness of mystical experiences with regard to their inexpressibility and the level of understanding of audience are among the effective factors in the mystical language of Masnavi.

AbstractThe purpose of this research is to study the biased ideological elements found in the death of Yazdgerd, Rostam Farokhzad, and Mahuy in Shahnameh and to compare it with the historical sources of its time, prior and after it.  In this way the role of the author and statements in the power relations are determined in such a way that not only the author himself, or the poet but also the work itself as a social act are the outcome of the power relations, social and political antagonism of that period in order to establish a discourse and the meaning it entails.  This subject leads to the polarization of the statements used by the author who does this polarization in a context of otherness, foregrounding, and marginalization.  Although one should not be concerned with the truth and falsity of the narratives, instead they should be treated as ideological texts.  By confronting these elements we perceive the different identity of narratives and ideological statements of the authors and their works in a logical and moral sense.

The purpose in this research is to show the influences of Hafez on Parvin Etesami in terms of thought and language. The method of research is based on Gérard Genette’s rather descriptive and analytical, but actually intertextual approach. Intertextuality relies on discovering influences and effects of texts upon other texts. Based on this approach there are no unique, pure, or all- inclusive texts. All texts are influenced by texts that existed before and will influence other texts in the future and such relation is present in the conversations that exist among texts (Genette). The terminology of intertextuality was first introduced in the late 1960s by Julia Kristeva. Gérard Genette is among theorists that utilized intertextuality in a practical manner and called it transtextuality. Our reading of Parvin’s Qasidahs and Hafez’s Ghazals reveals to us the presence of metatextuality and paratextuality from Genette’s five categories of Intertextuality, Paratextuality, Metatextuality, Hypertextuality, and Architextuality. The relations of metatextuality in some of the poetry by Parvin & Hafez are telling of Parvin’s adherence to cultural and intellectual principles of Persian classical poetry and Hafez’s critical positions on these matters.

Aghraz Al-Seyasah Fi A'araz Al-Reyasah, authored by Zahiry Samarghandy has become one of the excellent and outstanding old prose texts, because of containing technical, political, social, philosophical, didactic, and ethical teachings and addressing governance practices. These practical and miscellaneous teachings have led to frequent transcriptions and insertion of significant distortions and falsifications into the text of the mentioned book. Jaafar Sheảr by having in hand four manuscripts of Aghraz Al-Seyasah but without benefitting all of them (specially Meshkảt᾿s transcript) has corrected and printed it in many cases mentioned the manuscript᾿s differences. Furthermore, negligence in trusteeship towards manuscripts, especially the base manuscript, hastiness in correction, and the weakness and indifference in typesetting have inserted some other distortions, falsifications, and errors in the aforesaid book. This study has tried to countercheck the printed copy of Aghraz Al-Seyasah with the base and Meshkảt᾿s manuscript, and then by comparing some phrases of it with the other works of Zahiry Samarghandy (Sandbadnameh and Ghorrat–al-Alfaz wa Nozhat-al-Alhaz) and writer᾿s stylistic norms analyze and correct some distortions falsifications and errors in the printed text of Aghraz Al-Seyasah.

The Masnavi Ma'navi is one of the most outstanding works of Persian literature in which many manifestations of our culture are featured. The origin of some Masnavi's anecdotes is in verbal literature, which has appeared in literary works for a long time. The expression of contemporary verbal narrations adapted from some of the Masnavi's anticathodes represents the repetitive stories which have been frequently recited in our literature and culture. The transformation of Manavi's stories in verbal literature is a matter for which studies have not been yet conducted by scholars. The difference in the form and structure of the stories, the clear change in the characters and the different interpretations are some of the transformations that have distinguished the verbal narrations and the narrations of Masnavi. The three anecdotes that have been selected as the basis for the work for exhibiting the transformation between the stories of Masnavi and the verbal narrations are: Three Travelers: a Moslem, a Christian, and a Jew, Nakhjirans' Reliance, and the Fool Who Trusted the Bear. The data indicate that Rumi presents many high mystical concepts in the form of narrations and textual codes, but most of the verbal narrations are presented for entertainment. Also, the verbal narrations tend to be reasoning-based ethics, whereas Masnavi's anecdotes are Rumi's specific individual ethics

Mythology appears to be a kind of intellectual school which explains the existence and the presence of mythological of humans in the text rather than a method for the study of ancient rituals and stories. Regarding, those texts which have maintained the signs of mythological rituals until now. What those signs are and how they refer to the hero seem to be the main question of this article. Bakhtiari songs have passed their own long lives throughout the Iranian culture and then we have gained them; Recognition of the secret achieving and initiation of ritual explained by Mircea Eliade and Joseph Campbell, are represented in traditional songs of Bakhtiari with reasoned differences. According to these researchers, recognition of secret introduces structural organizations, while they are not obvious in micronarratives of Bakhtiari songs; therefore, scattered signs of recognition of secret and hero in love’s travel should be recognized and gathered by the researcher.  Thus, the existential situation and experiences of the lover is suspended and endless and this suspension which has rooted in collective subconscious is the main concern of the hero. In this article, some examples of Bakhtiari songs in the works of Masud Bakhtiari have been interpreted based on their capacity of mythological narratives. Most of the songs belong to Masud Bakhtiari himself and a few of them have been taken from Bakhtiari folklore by Masud Bakhtiari.

Kār-Nāmag ī Ardashīr ī Pāpakān (The Book of the Deeds of Ardeshir, Son of Papak), a mythological and epic text in Middle Persian (Pahlavi) language, introduces the founder of the Sassanid state as a hero and a mythological figure. The main question of the present research is why and how this text confronted with the rival, Parthian discourse, and tried to dominate its own discourse. The important hypothesis of the research is that human, natural and supernatural forces in this narrative, in coordination with each other, have presented a new discourse that refers to another type of thought and, consequently, another kind of lifestyle. In the narration of Kār-Nāmag, by the efforts of himself and his allies, as well as with the help of other characters and absorbing his competitors, the hero engages in a continuous battle. The present study, with a mythological approach and based on Joseph Campbell's hero's journey steps, examines the influential factors leading to the complex path to victory. The present study uses a descriptive-analytical method to explain the reason for the hero's journey. Through the narration of Kār-Nāmag, it becomes clear how the country saved from disunion and the kingdom of Iranshahr maintained its cohesion. Each of the characters in the book plays a role in leading Iranshahr back to national unity and is reminiscent of the role of the Iranian mythological liberation figures.

Bidel Dehlavi is one of the peaks of Persian literature in the Indian style. Most Indian style researchers have paid attention to the creative themes, delicacy, and imagery, but disregarded their artistic use of language . In this article, an attempts is made to address the art of creating combinations by Bidle and the functions of this linguistic art. Creating combinations, with regard to capability of Persian language, has been practiced among poets since the beginning of Persian poetry, but in the Indian style it has become more prominent. Most of the combinations in Bidle's poetry are based on his own pen, and fewer examples of this compositions can be found even among contemporary poets. The abundant use of combinations in Bidle's poetry has many purposes.  Defamiliarizing the language, emphasizing the form of speech, expressing grace, skillfully choosing vocabulary, decorating poems, and adding melody and sweetness to words are among them. Bidle's combination patterns in this article are: affix combinations, pseudo affix combinations, combination adjectives nominative, combination adjectives, infinitive combinations .The arrangement of linguistic combinations in horizontal and vertical axis of the verse is done with special order to make the poet's formalism more visible. The manifestation of many derivative combinations in Bidle's poetry, in addition to making his language eloquent, has created a unique identity for the style of his poetry.

Every life is the realization of a “whole,” that is the realization of the “self.” This realization is called individuality in Jungian psychology. Relying on Nietzsche’s book Thus Spoke Zarathustra, Jung analyzes concepts such as “the subconscious mind” and the archetypes of “shadow,” “positive anima,” “negative anima,” “chthonic mother,” and “wise old man,” and through this analysis, he explains the concept of individuation or attaining the status of “Superman.” Individuation is the process by which the ego, as the center of self-awareness, is transferred to the “self,” which is the innermost part of the subconscious. In this process, takes place in The Blind Owl, the various aspects of personality reach cognition and compatibility with each other, and self-awareness eventually becomes synchronized with the unconscious. The Blind Owl reflects the human search for individuation in the form of two real and symbolic journeys. This essay attempts to explore the idea of Nietzsche’s “Superman.” Studying the symbolic representations of the images of The Blind Owl, it also examines the role of trinity and its manifestation in the novel and its connection with individuality in Jung’s theory. The most important conclusion of the article is that the reader understands how Hedayat uses various symbols such as the ethereal girl, the prostitute, cypress, lotus, and numbers to refer to the origins of the two ancient civilizations of India and Iran. It also shows that the narrator of The Blind Owl is Nietzsche’s “Superman” who is trapped in the realm of existence and repeats a life in different places and times. The individual who appears in The Blind Owl, in symbolic and numerous forms—the narrator, the coffin-bearer, the uncle, the ethereal girl, the prostitute, the prostitute’s mother, the nanny etc.—are the shadows of the narrator (eternal-man) who lives in different faces and different times and tries to reconcile with different aspects of his existence. In addition, The Blind Owl’s narrator intends to overcome the inferior shadows of his existence to achieve the individuality referred to in Jung’s theory. Showing the narrator’s failure in trying to achieve individuality is the ultimate goal of The Blind Owl.

According to the French thinker Michel Foucault, power is so pervasive that it can overshadow many areas of human life. This influence penetrates even in the language of literary texts and it manifests itself in the form of metaphors, signs and symbols. Lyrical Story in a Footnote is written by Mahsa Mohebbali is one of the stories of technique-oriented and form-based, which shows the author's familiarity with philosophical approaches and also his mastery in the field of storytelling. But one of the most challenging points in the text is the non-desirable image of the female character in the story. Despite the femininity of the narrator and the writer, the question arises as to why such an idea is portrayed by the female character in the story? In the present study, based on Michel Foucault's theory of power, one can point to the penetration of masculine power in the language of the story. Of course, the concepts such as the protesting and rebellious bodies, as well as some of Nietzsche's views, such as the ethics of masters and slaves, show that some seemingly fragile images of women are themselves are in opposition to masculine language, but in the end it can be proved that this story is one of the concrete examples of Michel Foucault's theory of power: because masculine power is present in many linguistic elements. They have penetrated and overshadowed it.

Shahnameh is the story and history of a nation, a nation with all its great culture and civilization that is dynamic in all ages. This narrative shows the profound and obvious depth of the continuity of Iran's political life and each of the Shahnameh's narratives can be analyzed and reflected in this continuity One of the stories that has a special place in the narrative network of Iranian myths is the Siavash's Story. Given the nature of the narrative and the events that take place throughout the story, this story shapes the later narratives and epic / mythical wars of the Shahnameh, which can provide a clearer picture of the concept of "power" in its material and spiritual aspects in mythological culture. , The religion of ancient Iran and the boundaries of Khosrovani thought. With this aim in mind, and considering the importance of Siavash's story in the process of Shahnameh stories, in this article we have attempted to investigate the power relations in Siavash's story and its semantic system from Foucault's point of view. the result of this research shows that in the story of siavash, the relations/ relations of force are more than the other. Accordingly, this paper first examines the power / truth framework in Siavash's tale based on the Shah / Mobed, then examines the discourse of power in Siavash's three disciplines in identifying hostile space, semantic conflicts, and defining time and place

The view expressed by Khaje Nizamolmulk in the policy paper in the realm of governance is a reflection of her thirty years of experience that in all the chapters of this book that at the center of attention is the legitimization and selection of the king and his limits and authority.This text, with the exception of anecdotes, includes 524 processes. Considering that the personality types of king, messenger, courtier, minister, vassal, and spies constitute the largest part of the processes, In this research, these six personality types in the policy paper have been studied.The frequency of processes belonging to each of the characters are: 248 processes of king, 49 processes of messenger, 40 processes of courtier, 33 processes of minister, 32 processes of vassal and 27 processes of spies. In general, most of the processes are about the king, which includes 47% of the total processes, and shows the concern of Khajeh Nizamolmulk about the ruler of society. Most processes relate to the king of the material process. These kinds of processes are based on doing something and represent the agency of the actor. The high number of material processes in the processes of the king indicates the high capacity of this person in the khaje Nizamolmulk's opinion and the king's active in the community he wanted. In other words anecdotes in this book are about the king and his way of ruling. This receipt is obtained by combining the discourse analysis data and social conditions of Khaje Nizamolmulk period.

In view of the deep structure of diabolical malevolence and courageous vengeance regarded as a certainty and recognized as a mythological notion this article is concerned with the analysis of the tale of Feraydun where it becomes intertwined with the tale of Jamshid and Zahhak.  What makes the story move towards the tragedy of the death of the first national hero, Iraj although at first glance is Salm and Tur’s greed, however taking into account the characteristic feature of the two brothers that is their satanic malevolence, is the factor which shapes the deep structure of the tale, and eventually lead to the death of a wise brother a kind hero who in all respects differs from the other two.  Therefore it must be mentioned that one of the deep structures of the tales in Shahnameh in particular the tale of Feraydun is the concept of vengeance and retribution which in inherent in the beliefs and characteristic features of the heroes.  The important point in this analysis is the antiquated opposition between the myth of divine good versus diabolical bad which eventually in the battle of Feraydun with Turan and Rum turns into the dispute over lands with opposing political and national interests and ever since this aspect lingers on.

The words in the Persian literary texts have been distorted because of various reasons such as multiple duplications, different orthographies, and illegible manuscripts. The works of a writer or a poet and his/her stylistic attributes, Divans (collections) of other poets, in addition to different manuscripts of a work can have effective roles in their corrections. Aghraz Al-Seyasah Fi A'araz Al-Reyasah written by Zahiri Samarghandi is also among books which have been distorted over time. Jaafar Sheảr by using four manuscripts (one in written, and three in pictorial formats) of Aghraz Al-Seyasah, without taking advantage of all of them, has corrected and published the printed version of the book for the first time in 1349 (AH). Negligence in using the written version in the correction and trusteeship towards pictorial versions of Aghraz Al-Seyasah, hastiness in correction and weaknesses in typesetting have yielded some errors in the book. In the present paper, the authors, by studying the available manuscripts of Aghraz Al-Seyasah Fi A'araz Al-Reyasah, particularly the newly-discovered manuscript in the library of Khangah-e Ahmadi (Shiraz) and referring to other works written by Zahiri Samarghandi (including Sandbad nameh and Ghorrat–al-Alfaz) and Divans of the other poets, have tried to analyze and correct some distortions and falsification errors in the published text of Aghraz Al-Seyasah.

The text style and its originality can help a researcher with correcting a text. In Nafsat-al-Masdour there were some errors most of with have been corrected in an edition and explanation by AmirhasanYazdgerdi and the following studies. However, there are still a few errors that need to be dealt with and corrected so as to keep the originality of the text. Since the first edition of the work and the evidences within it are the most appropriate tools at hand, the writers try to correct such errors through a descriptive-analytic methodology. This correction relies on text coherence, parallelism, word collocation and also intertextual relations between this text and other works specifically jalal-o-din's Biography. Finally, the researchers recommend the appropriate alternatives by presenting the reasons and evidences.

In Persian lyrical texts, myth, as the infrastructure of culture, plays an important role in representing the function of characters. In Iranian mythological narratives of creation and in the infrastructure of stories, the demon, as a destructive character, tries to overthrow the divine characters. In the story of Vis o Rāmin, composed in poetry by Fakhruddin As'ad Gurgani, and the fifth story of Haft Paykar, composed in poetry by Nizami Ganjavi, the character of demon has enriched the two stories. Both poets, by contrasting demonic and divine forces, have highlighted the dual of good and evil in the deep-structures of narratives. In both texts, the narrator tries to portray the characters' morals and wisdom through their speech and behavior, but explaining of the role of demon in the deep-structures of the two stories is not the same. By using descriptive and analytical method, the present article attempts to consider the function of the theme of demon in two stories. In the mythological infrastructure of Vis o Rāmin which is a battle between Ahura Mazda and Ahriman, the love of Vis and Rāmin defeats the Ahuric wisdom and morals, while in Haft Paykar, the Ahuric wisdom prevails over Ahriman. It should be noted that the differences in the attitudes of the two poets and the influence of Zoroastrian, Zurvanite and Manichaean thoughts on these two books have led to differences in the imaginaries and narratives of the two stories.

 Taleb Amoli is one of the greatest speakers of the eleventh century AH which has played a significant role in the development of Indian style. The most respected researchers are on the aspect of imagination and the theme of his poetry. In the meantime, less emphasis is placed on the structure and linguistic aspects of his poetry, in particular the art of composing. In this essay, he addresses this aspect of his language. One of the most important elements in the style of poetry is the linguitic strueture of the poem one of the tools that talib has used in has poetic lingustic stracture is highligting.Taleb has made the most of this principle in order to combine it And most of his compositions follow the principle of the audience. Compositions derived from the Amolite Tribunal have been reviewed and analyzed under titles such as combinations of compounds, pseudo-combinations, compound and compound adjectives, compound formulations and compounds. Finally, the main point of the article is that Amoli's Taleb has entered countless combinations in the Persian vocabulary range. Many of these compounds are eye-catching and delicate, and the separation from being distracted gives a fresh look to the language of his poem. Taleb's performance has led these derived combinations to take place in a suitable position that enhances both the formal value of the word and the meaning of its word. Therefore, it can be said that the dominant language of the Taleb Amoli, the combination and the necessity of special interest in these compounds is obvious.

political leaders play within citizens lives. The purpose of civil policy is meeting individual, social and spiritual needs and requests in a civil society. The Prince by Niccolò Machiavelli and Naseri Morality by Khajeh-I Nasiroldin Tosi are two books that represent the principles of civil policy. The main base of this study is the analysis of similar and non- similar themes of these two politician thinkers. Machiavelli explains the different ways of acquiring and holding power, getting prince position, and the characteristics and moralities of the kings, however, pessimism towards human forms the base of his political theory. Khajeh Nasir, in kingship policy, concentrates on the civil policy principles and moral codes in politics. Machiavelli declares moral codes based on his political approaches and strategies and however, Khajeh Nasir uses moral principles as the foundations of political approaches and totally refuses everything incompatible with moralities which is a reverse picture of Machiavelli's viewpoint. Khajeh proposes respecting the citizens as the most significant principle of civil policy. On the other side, Machiavelli states a different strategy which proposes various treats depending situation and condition and the subalterns who came into power in different ways.